Mily Alekseevich Balakirev is a Russian composer, pianist, conductor and musical and public figure. Chapter " Mighty bunch", one of the founders (in 1862) and director (in 1868-1873 and 1881-1908) of the Free Music School. Conductor of the Russian Musical Society (1867-1869), manager of the Court Singing Chapel (1883-94). “Overture on the themes of three Russian songs” (1858; 2nd edition 1881), symphonic poems “Tamara” (1882), “Rus” (1887), “In the Czech Republic” (1905), oriental fantasy for piano “Islamey” ( 1869), romances, Russian adaptations folk songs.
Mily Alekseevich Balakirev was born on January 2, 1837 (December 21, 1836 according to the old style), in Nizhny Novgorod, in the family of an official from the nobility. He took lessons from pianist Alexander Ivanovich and conductor Karl Eisrich (in N. Novgorod). Musical development Milia was facilitated by his rapprochement with the writer and music critic Alexander Dmitrievich Ulybyshev. In 1853 - 1855, Mily Alekseevich was a volunteer student at the Faculty of Mathematics of Kazan University. In 1856 he made his debut in St. Petersburg as a pianist and conductor.
"Ruslan" finally captivated the Czech public. The enthusiasm with which it was received does not diminish even now, although I have already conducted it 3 times. (about "Ruslan and Lyudmila" by Glinka)
Balakirev Miliy Alekseevich
His friendship with art and music critic, art historian, honorary member of the St. Petersburg Academy of Sciences Vladimir Vasilyevich Stasov had a great influence on the formation of Balakirev’s ideological and aesthetic positions.
In the early 60s, under the leadership of Mily Alekseevich, a musical circle was created, known as the “New Russian Music School”, “Balakirevsky Circle”, “Mighty Handful”. In 1862, the composer, together with choral conductor and musical figure Gavriil Yakimovich Lomakin, organized the Free music school, which became the center of mass musical education, as well as the center of propaganda of Russian music. In 1867 - 1869 he was the chief conductor of the Russian Musical Society.
M. A. Balakirev contributed to the popularization of the operas of Mikhail Ivanovich Glinka: in 1866 he conducted the opera “Ivan Susanin” in Prague, and in 1867 he directed the Prague production of the opera “Ruslan and Lyudmila”.
The late 1850s - 60s were a period of intense creative activity Milia. Works of these years - “Overture on three Russian themes” (1858; 2nd ed. 1881), the second overture on three Russian themes “1000 years” (1862, in a later edition - the symphonic poem “Rus”, 1887, 1907) , Czech overture (1867, in the 2nd ed. - symphonic poem “In the Czech Republic”, 1906), etc. - developed Glinka’s traditions, they clearly manifested character traits and the style of the “New Russian School” (in particular, reliance on authentic folk songs). In 1866, his collection “40 Russian folk songs for voice and piano” was published, which was the first classical example of the treatment of folk songs.
In the 70s, Balakirev left the Free Music School, stopped writing, giving concerts, and broke with members of the circle. In the early 80s he returned to musical activity, but it has lost its militant “sixties” character. In 1881 - 1908, he again headed the Free Music School and at the same time (in 1883 - 1894) was the director of the Court Singing Chapel.
The central theme of the composer's work is the theme of the people. Folk images, pictures of Russian life, and nature run through most of his works. Miliya Balakirev is also characterized by an interest in the theme of the East (Caucasus) and the musical cultures of other countries (Polish, Czech, Spanish).
The main sphere of creativity of Miliya Alekseevich is instrumental (symphonic and piano) music. He worked primarily in the field of program symphony. The best example of his symphonic poem is “Tamara” (circa 1882, based on the poem of the same name by the Russian poet Mikhail Yuryevich Lermontov), built on original musical material of a visual-landscape and folk-dance nature. The name Milia is associated with the birth of the genre of Russian epic symphony. The idea for the 1st symphony dates back to the 60s (sketches appeared in 1862, the first movement in 1864, the symphony was completed in 1898). In 1908 the 2nd symphony was written.
Mily Balakirev is one of the creators of the original Russian piano style. The best of it piano works- oriental fantasy “Islamey” (1869), combining bright picturesqueness, originality of folk-genre coloring with virtuosic brilliance.
A prominent place in Russian chamber vocal music is occupied by the romances and songs of Mily Alekseevich.
Mily Alekseevich Balakirev died on May 29 (May 16, old style) 1910, in St. Petersburg.
(December 21, 1836, old style) in Nizhny Novgorod. He was a hereditary nobleman, the Balakirev family has been known since the mid-14th century. He received his first piano lessons from his mother Elizaveta Yasherova, and in the summer of 1846 in Moscow he studied with the pianist and composer Alexander Dubuc, a student of the Irish composer John Field.
In 1883-1895, Balakirev was the manager of the St. Petersburg court chapel, where he improved his repertoire and performance. He raised the teaching of singing and music theory to a professional level and introduced instrumental classes. The most gifted students of the chapel formed a musical circle around their leader. Balakirev was also the center of the so-called Weimar circle.
He edited early writings Mussorgsky, Borodin and Rimsky-Korsakov, together with the latter, prepared for publication the scores of Glinka’s operas “A Life for the Tsar” and “Ruslan and Lyudmila”, works by Frederic Chopin.
In the second half of the 1860s, Balakirev staged Glinka’s operas “A Life for the Tsar” and “Ruslan and Lyudmila” in Prague.
In 1894, on his initiative, a monument to Chopin was erected in Zelazowa Wola (Chopin’s birthplace), and he publicly performed works by this composer there and in Warsaw.
From the early 1880s, he was the censor of sacred and musical works. Balakirev's spiritual and musical heritage amounted to 11 completed works, mainly intended for performance during worship.
Balakirev created two symphonies (1897, 1908); three overtures, including Overture on Themes of Three Russian Songs (1858); symphonic poems "Rus" ("1000 years", 1862), "In the Czech Republic" (1867), "Tamara" (1882). He wrote the music for Shakespeare's tragedy "King Lear" (1861); two concertos for piano and orchestra; fantasy "Islamey" (1869); Cantata for the opening of the Glinka monument in St. Petersburg (1904); pieces for piano.
Balakirev is the author of 40 romances. The composer set to music the poems “The Cliff” and “When the Yellowing Field is Worried” by Mikhail Lermontov, “I Came to You with Greetings” and “Whisper, Timid Breath” by Afanasy Fet.
On May 29 (May 16, old style), 1910, Mily Balakirev died in St. Petersburg. He was buried in the Necropolis of Art Masters.
In Vladimir, Yekaterinburg, Lipetsk and Nizhny Novgorod there are streets and alleys named after the composer. Music and art schools in Moscow, Nizhny Novgorod and Gus-Khrustalny also bear the name Miliya Balakirev.
In 2017, Balakireva will appear in Moscow at the intersection of Samarkand Boulevard and Fergana Street in the Vykhino-Zhulebino area of the South-Eastern Administrative District.
The material was prepared based on information from RIA Novosti and open sources
(December 21, 1836, old style) in Nizhny Novgorod. He was a hereditary nobleman, the Balakirev family has been known since the mid-14th century. He received his first piano lessons from his mother Elizaveta Yasherova, and in the summer of 1846 in Moscow he studied with the pianist and composer Alexander Dubuc, a student of the Irish composer John Field.
In 1883-1895, Balakirev was the manager of the St. Petersburg court chapel, where he improved the repertoire and performance. He raised the teaching of singing and music theory to a professional level and introduced instrumental classes. The most gifted students of the chapel formed a musical circle around their leader. Balakirev was also the center of the so-called Weimar circle.
He edited the early works of Mussorgsky, Borodin and Rimsky-Korsakov, and together with the latter he prepared for publication the scores of Glinka’s operas “A Life for the Tsar” and “Ruslan and Lyudmila”, and works by Frederic Chopin.
In the second half of the 1860s, Balakirev staged Glinka’s operas “A Life for the Tsar” and “Ruslan and Lyudmila” in Prague.
In 1894, on his initiative, a monument to Chopin was erected in Zelazowa Wola (Chopin’s birthplace), and he publicly performed works by this composer there and in Warsaw.
From the early 1880s, he was the censor of sacred and musical works. Balakirev's spiritual and musical heritage amounted to 11 completed works, mainly intended for performance during worship.
Balakirev created two symphonies (1897, 1908); three overtures, including Overture on Themes of Three Russian Songs (1858); symphonic poems "Rus" ("1000 years", 1862), "In the Czech Republic" (1867), "Tamara" (1882). He wrote the music for Shakespeare's tragedy "King Lear" (1861); two concertos for piano and orchestra; fantasy "Islamey" (1869); Cantata for the opening of the Glinka monument in St. Petersburg (1904); pieces for piano.
Balakirev is the author of 40 romances. The composer set to music the poems “The Cliff” and “When the Yellowing Field is Worried” by Mikhail Lermontov, “I Came to You with Greetings” and “Whisper, Timid Breath” by Afanasy Fet.
On May 29 (May 16, old style), 1910, Mily Balakirev died in St. Petersburg. He was buried in the Necropolis of Art Masters.
In Vladimir, Yekaterinburg, Lipetsk and Nizhny Novgorod there are streets and alleys named after the composer. Music and art schools in Moscow, Nizhny Novgorod and Gus-Khrustalny also bear the name Miliya Balakirev.
In 2017, Balakireva will appear in Moscow at the intersection of Samarkand Boulevard and Fergana Street in the Vykhino-Zhulebino area of the South-Eastern Administrative District.
The material was prepared based on information from RIA Novosti and open sources
Balakirev M. A.
Mily Alekseevich (21 XII 1836 (2 I 1837), Nizhny Novgorod, now Gorky - 16 (29) V 1910, St. Petersburg) - Russian. composer, pianist, conductor, music society. activist Game on FP. trained under hand. mothers, several took lessons from A.I. Dubuk and K.K. Eisrich. Music B.'s development was facilitated by his rapprochement with A.D. Ulybyshev, in whose house B. met the music. lit-roy, including works by M. I. Glinka, F. Chopin. On music In the evenings hosted by Ulybyshev, B.’s performances as a pianist and conductor began. In 1853-55 he lived in Kazan, was a volunteer mathematics student. Faculty of Kazan University, continued to give concerts, gave ph. lessons.
An important event in B.'s life was moving to St. Petersburg (late 1855) and meeting with M.I. Glinka, of whom he became a follower. In 1856, B. made his debut in St. Petersburg as a pianist and composer (performed a concert for piano and orchestra). In 1856-62, B.'s friendship began with Ts. A. Cui, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. P. Borodin and critic V. V. Stasov, who helped noticeable influence on the formation of ideological and aesthetic. positions of V., who introduced him to the revolutionary democratic. lit-roy. In the beginning. 60s 19th century under hand B. formed music. circle, known as "New Russian music school", Balakirevsky circle, "Mighty Handful". Thanks to determination and artistry. initiative, creative and performing experience, B. enjoyed great authority among members of the circle.
In the 50-60s. B. created “Overture on the theme of the Spanish March” (1857), “Overture on themes of three Russian songs" (1858), music for W. Shakespeare's tragedy "King Lear" (1858-61), overture "1000 Years" (1864), romances, ph. plays. These works develop the traditions of Glinka, especially his symphonic music. In 1862, B., together with G. Ya. Lomakin, organized the Free Music School (FMS), which became a center of mass music education and enlightenment. B. established permanent concerts of the BMS, in which he promoted the works of Russian (especially young) composers. Glinka movement and foreign romantic composers (G. Berlioz, F. Liszt, R. Schumann). In the 2nd half, B. visited Prague at the invitation of Czech musicians and directed the production of the opera “Ruslan and Lyudmila”. , conducted the opera “A Life for the Tsar” (1867). In 1867-69 he was the chief conductor of the Russian Musical Society.
The blossoming of the muses. B.'s activities are associated with the 60s. In the 70s he experienced a long mental crisis caused by a series of failures in his musical societies. activities and in personal life. B. leaves the BMS, stops composing, performing as a performer, and breaks off friendly ties with members of the circle. At the same time, he becomes closer to the church circles of St. Petersburg and shows religiosity that was previously unusual for him.
In the beginning. 80s B. returns to music. activities, however, have lost their former scope and militant “sixties” character. In 1881-1908 he again headed the BMS, and at the same time (1883-94) served as director of the Pridv. singer chapels. Took part in music societies. life: contributed to the perpetuation of the memory of Glinka (opening of a monument in Smolensk, 1885) and Chopin (unveiling of a monument in Zhelyazova-Wola, 1894). The performances of B. the pianist acquired a chamber character (he played only at private music evenings). S. M. Lyapunov became B.'s closest friend and follower. In 1880-1900 B. created the symphony. the poem "Tamara" (c. 1882, started in the 60s), 2 symphonies (1st - 1897, started in the 60s; 2nd - 1908), many. romances, fp. production, "Cantata in Memory of Glinka" (1904, written in 1906, written for the opening of the monument to Glinka in St. Petersburg). During these years, he was engaged in processing and editing most of his major works. early period. His new productions testified to the growth of composing skills, but at the same time to a certain decline in talent.
The most important feature of B.'s creativity is a bright national character. characteristic. Nar. images (everyday or epic), Russian paintings. life, nature pass through most of his productions. The composer is also distinguished by the traditional Russian style. music interest in the theme of the East (more precisely the Caucasus) and people. music cultures of other countries (Polish, Czech, Spanish). B. constantly studied music. folklore, especially Russian. B.'s trip along the Volga, undertaken in 1860 for the purpose of recording folklore, provided rich material. songs, its result was the collection. "40 Russian folk songs for voices with php." (printed in 1866) - the first classic. an example of this kind in Russian history. music folkloristics. 2nd Sat. - “30 Russian folk songs for piano in 4 hands” (1898) was created on material collected by song expeditions of Rus. geographical about-va. The passion for folklore is associated with an abundance of production. B. authentic people melodies and similar author's themes of genre-song or dance. character. For example, overtures in Russian. adv. themes, symphonies (especially the 1st), wok. essays. Trips to the Caucasus and acquaintance with its folklore brought to life colorful east. music images (poem “Tamara”, ph. fantasy “Islamey”, “Georgian song”, etc.). And in this B. continued his creativity. Glinka's principles.
B. lyricist is characterized by the embodiment of contrasting emotions: ardent passion and fervor are replaced by lazy languor, calm dreaminess. In his later works, restrained lyricism predominates. contemplative moods associated with a philosophical perception of nature or with memories of the past.
Basic B.'s creative field is tools. music (symphonic and ph.). Developing, following Glinka, genre-narrative. symphonism (the first major work of this kind is “Overture on the Themes of Three Russian Songs”), B. sought to enrich the genre of epic overture. elements (the use of epic tunes, melodies of an ancient nature, edging the central, tempo-driven genre and everyday sections with slow episodes of an epic nature). He addressed the preem. to historical subjects, trying to recreate the majestic image of the people. This is his second Russian. overture - "1000 years" (written for the opening of the monument "Millennium of Russia" in Novgorod; in the 2nd edition - symphonic poem "Rus"), in lit. program, the author wrote about his intention to capture certain moments of Russian in the music of the poem. history (pagan Rus', Moscow, Cossack).
The birth of the Russian genre is associated with the name B. epic symphonies. In the 60s B. began working on the 1st symphony. At the same time, he took part in the creation of symphonies by Borodin and Rimsky-Korsakov. Russian principles epic symphonies were developed jointly. creative the quests of these composers.
B. worked primarily. in the field of program symphony. The best example of symphony. B.'s poem "Tamara" (based on the poem of the same name by M. Yu. Lermontov, dedicated to F. Liszt). Built on the original music. material of figurative-landscape and folk dance. character, “Tamara” is stylistically related to the program symphonies and poems of F. Liszt, the creator of this genre. At the same time, it is connected with the work of Glinka (“ Eastern dance" from the opera "Ruslan and Lyudmila"). In "Tamara" personality traits symphony B.'s style: the brightness of the sound-written and national-characteristic (Caucasian) coloring, the free comparison of diverse and colorful muses. paintings (Daryal Gorge at night, festival in Tamara’s castle, morning Mountain landscape). Dr. type of program symphony B. - music to Shakespeare's tragedy "King Lear". (The first classical work of this kind in Russian music was Glinka’s “Prince Kholmsky.”) This work by B. opened the Shakespearean theme in the work of Russian. composers (productions by P. I. Tchaikovsky, D. D. Shostakovich, S. S. Prokofiev based on Shakespeare’s plots).
B. - one of the first Russians. composers, widely used in FP. music, large concert-virtuoso forms. Among his fp. prod. the east stands out. fantasy "Islamey" (1869), distinguished by its original thematic. material (genuine oriental themes), breadth and symphonic design, combination of European. conc. style with specific features of the east instr. coloring This virtuoso brilliant play is a major milestone in the development of Russian. pianism. B.'s appeal to romantic genres is also characteristic. fp. music (mazurkas, waltzes, nocturnes, scherzos), indicating closeness to F. Chopin. Means. part of the fp. B.'s heritage consists of transcriptions and transcriptions (for fp. in 2 and 4 hands) of production. other composers (M. I. Glinka, V. F. Odoevsky, L. Beethoven, G. Berlioz).
Chamber wok. B.'s works are a kind of connecting link between Russian. romance by Glinka, Dargomyzhsky and Russian. wok lyrics 2nd half. 19th century The romances of the early period are distinguished by their freshness and novelty. Some of them - the fantastic-landscape "Song of the Goldfish", the lyrical "Frenzy", "Come to Me", "oriental" romances ("Song of Selim", "Georgian Song") - are the first examples of this type in wok. composers' music Balakirevsky circle. The best romances of B. were written to texts by M. Yu. Lermontov, A. V. Koltsov, A. A. Fet, A. K. Tolstoy, A. M. Zhemchuzhnikov.
Prod. B. often contain stylistic. contradictions: originality of musical and poetic. ideas and richness of muses. fantasies are combined in them with looseness and insufficient integrity of form (mainly large). This revealed both the individual qualities of the composer’s talent and the peculiarities of his creative work. process - duration breaks in work, as a result of which B. had to “get used to” the production again. Also connected with this is the duality of history. the fate of his work: B. at first walked ahead of his circle comrades, confidently outlined the paths for the development of Russian. music after Glinka, but in comparison with other representatives of the “Mighty Handful”, B.’s achievements turned out to be more modest, especially since his major works appeared after Borodin’s symphonies and program symphonies. works of Rimsky-Korsakov. However, this does not detract from B.’s importance as the leader of the “New Russian Music School”, as the author of works included in Russian music. music classics of the 19th century.
Main dates of life and activity
1836. - 21 XII. In the family of an employee in Nizhny Novgorod. During the salt reign of A.K. Balakirev, a son, Mily, was born. 1844. - Classes with mother Elizaveta Ivanovna (fp.).
1846. - Trip with mother to Moscow, 10 lessons from A.I. Dubuk, “from whom I first learned correct techniques fp. games" (Autobiography). - Admission to the Nizhny Novgorod provincial gymnasium.
1851. - Continuation of previously started classes with K.K. Eisrich. - Familiarity with the production. F. Chopin. - First meeting with the computer. and pianist I.F. Laskovsky. - Beginning of music performances. evenings of A.D. Ulybyshev (as a pianist, then as a conductor).
1852. - First compositional experiments.
1853. - Graduation from the Alexander Noble Institute. - Moving to Kazan, enrollment as a volunteer student at Kazan University in physics and mathematics. f-t. - Continuation of composing and performing activities.
1855. - XII. Arrival in St. Petersburg. - Acquaintance with M.I. Glinka, A.S. Dargomyzhsky, and later with A.N. Serov. Glinka's review: "Balakirev is a very efficient musician."
1856. - Acquaintance with Ts. A. Cui, V. V. Stasov, as well as S. Monyushko. - 12 II. First performance in St. Petersburg (performed the 1st part of his concert for piano and orchestra at the musical matinee of St. Petersburg University, conductor K. B. Schubert).
1857. - Acquaintance with M. P. Mussorgsky.
1858. - Appearance in print of B.’s works (romances), as well as fp. prod. I. F. Laskovsky, ed. B. - A trip to Moscow, the idea of a “Symphony in honor of the Kremlin.” - 21 XII.
Spanish "Overtures on the themes of three Russian songs."
1859. - Acquaintance with T. G. Shevchenko, H. P. Shcherbina. - 15 November Spanish Overture "King Lear" at the concert in St. Petersburg. un-ta.
1860. - Acquaintance with L. A. Mey, I. S. Turgenev. - VI-VII. A trip with N.F. Shcherbina and N.A. Novoselsky along the Volga (from N. Novgorod to Astrakhan), recording of people. songs.
1861. - Plans (unrealized) for major works (Requiem, 2nd symphony “Mtsyri”, “Russian Symphony”). - Acquaintance with N. A. Rimsky-Korsakov.
1862. - Organization and opening (with the participation of B.) of Free Music. schools (BMSH). - VI-VIII. Trip to the Caucasus. - XI. Meeting A.P. Borodin. - The final formation of the Balakirev circle.
1863. - B.’s performance as a conductor in the first concert of the BMS. - VI-IX. Second trip to the Caucasus, recording people. music.
1864. - The idea (unrealized) of the opera “The Firebird”.
1866. - Trip to Prague. Meetings with Czech representatives. intelligentsia (B. Smetana and others). Getting to know people music.
1867 - Second visit to Prague. - 4 II. Spanish in Prague t-re under the management. B. Glinka's opera "Ruslan and Lyudmila". - 29 I. B. conducted Glinka’s opera “A Life for the Tsar”. - X. Beginning of conducting activities at the Russian Musical Society. - XI. Acquaintance with G. Berlioz.
1868 - Acquaintance with P.I. Tchaikovsky, N.G. Rubinstein. - VI-XI. Third trip to the Caucasus.
1869 - IV. B. was removed from the management of RMO concerts. - XI. Spanish N. G. Rubinstein's fantasy "Islamey" at the BMS concert.
1870. - Acquaintance with T. I. Filippov, poets A. M. and V. M. Zhemchuzhnikovs.
1872 - Termination of BMS concerts. - Entering the service in the Store Department of the Warsaw Railway. d.
1873. - I. Appointment to the post of music inspector for women. Mariinsky Institute - XII. Leaving the BMS (B.’s successor was N. A. Rimsky-Korsakov).
1875 - Leaving the Mariinsky Institute, joining the post of inspector of music. classes of women school of St. Elena.
1876. - Gradual return to music. activities.
1877. - Editing Glinka's opera scores (together with N. A. Rimsky-Korsakov and A. K. Lyadov).
1881. - Return to the BMS. - Start working on editing your previously written essays.
1882. - Resumption of BMS concerts under the direction of. B. (17 III for the first time, Glazunov's 1st symphony). - XII. Performance in a concert from the production. Glinka in favor of building a monument to him in Smolensk.
1883. - 3 II. Resignation from the position of music inspector. classes for women school of St. Elena. - Appointment of B. as manager of the Adv. singer chapel. - III. Spanish under. ex. B. symphony poem "Tamara" (in the BMS concert). - IX. Participation in the celebrations associated with the laying of the Glinka monument in Smolensk.
1884. - Acquaintance with S. M. Lyapunov. - Correspondence between B. and F. Liszt in connection with the dedication of the poem “Tamara” to Liszt. - II. Award to B. Glinkinskaya Ave. for “Overture on the Themes of Three Russian Songs.”
1885. - V. Concert under the direction of B. in Smolensk in honor of the opening of the monument to Glinka.
1887. - Music. evenings at B.’s with a new line-up of visitors (Lyapunov, students of the Pridv. Choir Chapel, etc.). - The beginning of B.’s constant performances in music. evenings in the house of A. N. Pypin. - III. Anniversary concert of the BMS. - Assignment of B. a lifelong pension (on the day of the 25th anniversary of the BMS).
1889. - IX. First Spanish prod. B. abroad ("Overture on the themes of three Russian songs", conductor. N. A. Rimsky-Korsakov, Paris).
1890. - Beginning of correspondence with the French. music critic and comp. L. A. Burgo-Ducudre, who received from B. people. themes recorded in the Caucasus.
1891. - IX. Trip to Poland. Visit to Zhelazova-Wola.
1894. - Participation in celebrations in Zhelazova-Wola, dedicated. opening of the monument to Chopin (on B.’s initiative). - X. Performance at a concert (Warsaw). - 20 XII. Dismissal from service in Pridv. singer chapel, retirement. - First Spanish in Paris symphony. poem "Tamara" (conductor C. Lamoureux).
1897. - Publication of B. Kalensky’s book “Bedřich Smetana and Mily Balakirev, their significance for the development of Slavic music, their personal and artistic connections” (Prague, 1897).
1898. - Honoring B. in connection with the 30th anniversary of the BMS. - III. B. became a member of the commission for the compilation and publication of Russian. adv. songs collected by Rus expeditions. geographical about-va. - 11 IV. Spanish at the BMS concert under the direction of B. his 1st symphony.
1899. - Concert under the direction of B. in Berlin on the occasion of the opening of a memorial plaque on the house in which Glinka died.
1900. - Editing the score of Berlioz's Te Deum.
1902. - Beginning of editing the collection. op. Glinka (together with S. M. Lyapunov).
1904 - Stopping public speaking.
1906. - Spanish B. cantatas at celebrations, dedication. opening of the monument to Glinka in St. Petersburg.
1908. - Refusal from the leadership of the BMS (S. M. Lyapunov became B.’s successor). - Editing the works of F. Chopin.
1910. - 16 V. Death of B. in St. Petersburg.
Essays : for choir with orc. - Cantata in memory of Glinka (1904); for orc. - 2 symphonies (C major, 1864-97; d minor, 1907-08), Overture on the theme of a Spanish march (d minor, 1857, 2nd ed. - Spanish overture, 1886), Overture on the themes of three Russians songs (h-minor, 1858, 2nd ed. - 1881), music. painting 1000 years (second overture on Russian themes, Des-dur, 1863-64, 2nd ed. - symphonic poem Rus', 1887, edit 1907), Czech overture (Fis-dur, 1867, 2nd ed. . - symphonic poem In the Czech Republic, 1905), symphony. poem Tamara (1882), Suite in 3 parts (B minor, Préambule, Quasi Valse, Tarantella, 1901-09, completed by S. M. Lyapunov), music for Shakespeare's tragedy "King Lear" (overture, Procession, intermissions , 1858-61, 2nd ed. - complete score, including 2 versions of the Procession, Kent's Dream, interlude, military music, symphonic picture of the battle, melodrama, trumpet and drum signals, 1905); for fp. with orc. - concerto No. 1 (fis-moll, I part, 1855, score published by M., 1952), concerto No. 2 (Es-dur, 1861-62, 1909-10, completed by S. M. Lyapunov), Grand Fantasy to Russian national tunes, op. 4 (Des-dur, 1852, ed., M., 1954); chamber ensembles - octet for flute, oboe, horn, midrange, viola, alto, K-bass, fp., op. 3 (c-moll, 1850-56, score published by M., 1959); for fp. 2 hands - Fantasia Islamey (1869), 1st sonata (B minor, 1856-57), sonata (B minor, 1905), sonatina (C major, 1909), 3 scherzos, 7 mazurkas, 3 nocturnes , 7 waltzes, various pieces (including Polka, In the Garden, Dumka, etc.), M. A. Balakirev, Complete. collection op. for fp. in 3 vols. ed. K. S. Sorokina, M., 1952; for fp. in 4 hands - 30 Russian folk songs (sample 30 songs of the Russian people for one voice with accompaniment of ph. from collected in 1886 by G. O. Dyutsch and R. M. Istomin, harmonized by Mily Balakirev, 1898), Suite in 3 part (Polonaise, Song without Words, Scherzo, 1909), On the Volga (1868, ed., M., 1948); op. on themes of other composers - Memories of the opera “A Life for the Tsar” by M. Glinka. Fantasia, 1899 (1st ed. - Fantasia for ph. based on motives from the opera “A Life for the Tsar” by M. Glinka, 1854-56), impromptu on the themes of 2 preludes by Chopin (es-moll and h-moll), Spanish Serenade on themes recorded by Glinka (1856); transcriptions and translations for fp. 2 hands - Glinka (Lark, Aragonese jota, Kamarinskaya, Don't talk), P. Zapolsky (Dreams), A. S. Taneyev (2 waltzes-caprices), G. Berlioz (overture "Flight into Egypt": 2nd part of the oratorio "The Childhood of Christ", L. Beethoven (cavatina from string quartet, B-dur, op. 130; Allegretto from string quartet, op. 59 No. 2), F. Chopin (Romance from the 1st concert , op. 11); 4 hands - G. Berlioz (Harold in Italy), A.F. Lvov (overture to the opera "Ondine"); for 2 fp. 4 hands - Glinka (Prince Kholmsky, Night in Madrid), L. Beethoven (quartet in f minor, op. 95); for voice with FP. - 20 romances (1857-65), 10 romances (1895-96), romances (1903-04), 3 forgotten romances (You are full of captivating bliss, Link, Spanish song, 1855, published 1908), Two posthumous romances (Dawn , Cliff; 1909); M. Balakirev. Romances and songs. Ed. and entry Art. G. L. Kiseleva, M., 1937; Collection of Russian songs (40) (1865, published 1866); translated for voice with orc. - Dargomyzhsky (Paladin, Oh, the Rose Maiden), Glinka (Night View, Oh, My Wonderful Maiden), own. prod. (Georgian song, Starter, Dream); for choir a cappella - Hymn in honor of St. led book Vladimirsky Georgy Vsevolodovich, founder of N. Novgorod, composed on the occasion of the celebration of the seven hundredth anniversary of his birth by Nizhny Novgorod residents (1189-1889), spiritual and musical. translated and op. (M., 1900), etc.; translated for choir a cappella - Glinka (Venice Night, Lullaby), Chopin (Mazurkas, op. 6, No. 4; op. 41, No. 4); instrumentation op. other composers - N.V. Shcherbachev (two pieces for the musical composition: Two Idylls...(B.’s name is not indicated in the publication)), A. Lvov (overture to the opera “Ondine”), Glinka (Original Polka) , Chopin (e-moll concerto, Suite from Chopin's opus); editions of op. other authors, including operas and symphonies. prod. M.I. Glinka, Ph.D. op. I. F. Laskovsky, sonatas by F. Chopin, some originals. prod. and transcriptions by F. Liszt, Te Deum by G. Berlioz, prod. K. Tauzig. Literary works
: Autobiographical note M. A. Balakirev (from his letters to N. Findeisen in 1903 and 1907), "RMG", 1910, No. 41; Anniversary of Henselt (signed by Valerian Gorshkov), "New Time", 1888, March 12, No. 4323. Letters: Letters from M. A. Balakirev to A. P. Arsenyev (1858-1862), "RMG", 1910 , No. 41, 42; Correspondence of M. A. Balakirev with P. I. Tchaikovsky, St. Petersburg, (1912); Letters from M. A. Balakirev to I. A. Pokrovsky, "RMG", 1916, No. 40, 44, 46, 49-52; Letters from M. P. Mussorgsky to M. A. Balakirev, in the book; Mussorgsky M.P., Letters and documents, M.-L., 1932; Letters from M. A. Balakirev to T. A. Cui, in the book: Cui Ts., Izbr. letters, L., 1955; Letters from M. A. Balakirev to B. Kalensky, in the book: From the history of Russian-Czech relations, M., 1955; Balakirev) M. A., Correspondence with N. G. Rubinstein and M. P. Belyaev, M., 1956; Balakirev M. A., Correspondence with music publisher P. Yurgenson, M., 1958; Letters from M. A. Balakirev to A. P. Borodin, in the book: Dianin S. A., Borodin. Biography, materials and documents, M., 1960; Balakirev M. A., Memoirs and letters, L., 1962; Correspondence. A. Rimsky-Korsakov with M.A. Balakirev, in the book: Rimsky-Korsakov N., Lit. works and correspondence, vol. 5, M., 1963; Balakirev M. A. and Stasov V. V., Correspondence, vol. 1-2, M., 1970-71. Literature: G. T. (Timofeev G.), Essay on the development of Russian romance, M. A. Balakirev, "RMG", 1895, No. 4; him, Balakirev in Prague. From his correspondence, " Modern world", 1911, No. 6; his, M. A. Balakirev, "Russian Thought", 1912, No. 6, 7; Findeizen N., Mily Alekseevich Balakirev, "RMG", 1895, No. 1; his (Nick. F.), The forgotten anniversary of M. A. Balakirev (to the 50th anniversary of his artistic activity, 1856-1906), "RMG", 1906, No. 17; Boborykin P. D., Russian musician (In memory of a comrade), "Stock Exchanges" Vedomosti", vech. issue., 1910, May 29, No. 11737; Lyapunov S., Miliy Alekseevich Balakirev, "EIT", 1910, issue 7, 8; Shestakova L. I., From unpublished memories. My evenings, " RMG", 1910, No. 41; hers, From unpublished memories of the New Russian School, "RMG", 1913, No. 51-52; Chernov K., Mily Alekseevich Balakirev (from memoirs and letters), Musical Chronicle. Articles and materials edited by A. N. Rimsky-Korsakov, collection 3, L.-M., 1925; Glebov I., (Asafiev B. V.), Russian music from early XIX centuries, M., 1930; him. There were three of them...(From the era of the social rise of Russian music of the 50-60s of the last century), in the book: Asafiev B.V., Izbr. works, vol. 3, M., 1954; him, Russian music XIX and the beginning of the 20th century, L., 1968; Kiselev G., M. A. Balakirev, M.-L., 1938; Gozenpud A., M.A. Balakirev (on the fortieth anniversary of his death), "SM", 1950, No. 6; Serov A. N., Newly published musical works - Songs and romances by Balakirev, in the book: Serov A. N., Izbr. articles, vol. 1, M.-L., 1950; his, Musical morning in the hall of St. Petersburg. Univ., ibid., vol. 2, M.-L., 1957; Stasov V.V., Twenty-five years of Russian art. Our music, in the book: Stasov V.V., Izbr. soch., vol. 2, M., 1952; his, Art of the 19th century, in the same place, vol. 3, M., 1952; Tchaikovsky P.I., Complete. collection op. - Literary works and correspondence, vol. 2, M., 1953; Rimsky-Korsakov N., Complete. collection op. - Literary works and correspondence, vol. 1, M., 1955; Gippius E. V., Collections of Russian folk songs by M. A. Balakirev, ed.: Balakirev M., Russians folk songs, M., 1957; Kandinsky A., Symphonic works of Balakirev, M., 1960; M. A. Balakirev. Research. Articles, L., 1961; Alekseev A.D., Russian piano music. From the origins to the heights of creativity, M., 1963; M. A. Balakirev. Chronicle of Life and Creativity (compiled by A. S. Lyapunova and E. E. Yazovitskaya), Leningrad, 1967; Kalienski V., Bedaick Smetana a Mily Balakirew, jich vyznam pro vevoi hudbi slovanske, jich osobni a umilacki stuky, Prague, 1897, his, V Cechach. Symfonicka besen Milie Aleksejevice Balakirewa, "Samostatnost", (1906), No. 53; Reiss E., Lieder von Mili Balakirew, "Die redenden Künste", Jahrg. IV, 1897/98; Newmarch P., Mily Balakireff, "Sömmelbönde der internationalen Musikgesellschaft", Jahrg. IV, H. 1, 1902, Oktober - Dezember, S. 157-63; Calvocoressi M. D., Mili Balakirew, in the book: Masters of Russian music, L., 1936; Garden E., Balakirew. A critical study of his life and music, N. Y., 1967. A.I. Kandinsky.
Musical encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .
Miliy Alekseevich Balakirev(January 2, 1837 - May 29, 1910), Russian composer, pianist, conductor, head of the “Mighty Handful”.
The enormous role of M. A. Balakirev in the history of Russian culture is well known, and yet his significance remains not fully appreciated. Perhaps this is due to the fact that he evoked a complex and ambiguous attitude towards himself from his contemporaries - both through his creativity and social activities.
“In Balakirev, I always felt there were two people: one - a charming and cheerful interlocutor, ready to tell a not entirely decent joke; the other is some kind of schismatic abbot, despotically demanding, even cruel, capable of completely unexpectedly offending a person who is friendly towards him,” recalled M. M. Ippolitov-Ivanov.
Whether in the spotlight of cultural life or going into the shadows, he never compromised with the opinion of society - even in contradiction with it. In silence and loneliness, he continued to do the same as at the height of fame - to serve art, sacrificing everything else: health, personal life, friendship of close people, good opinion of fellow musicians. Balakirev is one of the most tragic figures in the history of Russian musical culture of the 19th century.
His life was long and covered several periods in the history of Russian musical culture. While still a young man (at the age of 19), A.D. Ulybyshev brought Balakirev to the Christmas tree with Mikhail Ivanovich Glinka, who immediately predicted a “brilliant musical future” for him. Later, he even gave him the theme of the Spanish march, for which he composed the Overture. And at the end of his life, fate brought him into contact with Sergei Vasilyevich Rachmaninov, who conducted the symphonic poem “Tamara” in 1905. For more than half a century, he communicated with various outstanding musicians of Russia and Europe, in every possible way contributing to the prosperity of true art.
He was born in Nizhny Novgorod on December 21, 1836 in the family of an official. He received initial musical knowledge from his mother, later he studied with K. K. Eisrich and took individual lessons from various musicians, including A. Dubuk, but he mainly owed his musical education to himself. Eisrich introduced him to the house of A.D. Ulybyshev, a lover and connoisseur of music who wrote a monograph on Mozart. Balakirev participated in his musical evenings and studied music literature.
In 1853, he moved to Kazan and enrolled as a volunteer student at the University’s Faculty of Physics and Mathematics, but two years later he left from there for St. Petersburg. In the northern capital, Balakirev quickly became close to a circle of musicians - M. I. Glinka, A. S. Dargomyzhsky, A. N. Serov, V. V. Stasov, as well as S. Monyushko. In the late 1850s and early 1860s, a circle formed around him, which was later called the “Mighty Handful.”
This name first appeared in 1867 in Stasov’s article “ Slavic concert Mr. Balakirev”, where there are the following lines: “God grant that our Slavic guests will forever retain the memory of how much poetry, feeling, talent and skill a small but already mighty group of Russian musicians have.” The circle itself called itself the “New Russian School”.
After active creative life In the 1860s, a severe crisis began that lasted almost the entire decade. During these years, Balakirev almost completely abandoned communication with his former friends and creative activities; for a short time he even became an official in the Warsaw Store Department railway. The second period of the composer's creative activity began in the 1880-1900s. Before recent years In his life, he is actively involved in creative, social and performing activities.
These are the most significant milestones in his biography. But how can one describe how much spiritual strength and inner fire Balakirev put into his works? All his life he burned with a bright fire, awakening ebullient creative energy in others. His era - the time when he fully and happily revealed the potential of his creative talent - was the 1860s. At this time, after Nicholas I left the throne, art was perceived as a means to improve the life of society. Subsequently, these ideas faded into the background, but for Balakirev they always remained significant.
He devoted most of his life to active musical and social activities, which did not always find an appropriate response from his contemporaries. His most important and difficult undertaking was the creation in 1862, together with G. Ya. Lomakin, of the Free Music School (FMS), the goals of which were the same as for the Russian Musical Society (RMS) - training Russian musicians and the availability of appropriate education for everyone.
In addition to Balakirev, from 1873 to 1882 the BMS was headed by N. A. Rimsky-Korsakov, and from 1908 by S. M. Lyapunov. After October revolution she ceased to exist.
However, the opening of the St. Petersburg Conservatory by A. G. Rubinstein in the same year on the basis of the Russian Musical Society diverted public attention from Balakirev’s noble undertaking and contributed to the emergence of two parties in it - adherents of the ideas of Balakirev and Rubinstein. Balakirev himself had a very ambivalent attitude towards Rubinstein’s undertaking. The main objection to the conservatory was that the typed musical education should, in his opinion, kill the individuality of students. With his friends, he sneered at Rubinstein, calling him Dubinstein, Tupinstein and even Grubinstein. However, perhaps this was also due to personal resentment for his own initiative - the BMS, which, being aimed at the same goals, did not attract such attention from either patrons or the public.
Difficulties in the affairs of the BMS were largely the cause of the crisis that befell Balakirev in the 1870s. At the same time, over time, the negative attitude towards RMO smoothed out. In 1871, he approved of Rimsky-Korsakov's decision to work at the St. Petersburg Conservatory. Although Rimsky-Korsakov believed that Balakirev had the selfish intention of “inducting his own into a conservatory hostile to him.” Nevertheless, Balakirev respected his knowledge of harmony and counterpoint and sent to him those of his students who needed consistent study of these subjects. This is how young A.K. Glazunov came to Rimsky-Korsakov in 1879. And in 1878, the Moscow branch of the RMO even invited Balakirev to take the place of P.I. Tchaikovsky, who had left the Conservatory by that time. He did not accept the offer, but was touched by it.
In addition to the BMS, in the 1870s Balakirev was actively involved in teaching and inspectorate activities in women's institutes. Since 1873, he was an inspector of music classes at the Mariinsky Women's Institute, and since 1875 - at the St. Elena. Finally, from 1883 to 1894 he was the manager of the Court Singing Chapel, after which he retired.
Pedagogical activity accompanied Balakirev throughout his life. He trained a galaxy of composers who made up an entire era of Russian music. It was around him that the most talented composers of his time united in the “New Russian School” - Caesar Antonovich Cui (familiar with Balakirev since 1856), Modest Petrovich Mussorgsky (from 1857), Nikolai Andreevich Rimsky-Korsakov (from 1861), Alexander Porfirievich Borodin (from 1862 ), as well as A. S. Gussakovsky (from 1857, after 1862 he retired from the circle) and N. N. Lodyzhensky (from 1866).
They also joined the circle music critics and public figures A.N. Serov and V.V. Stasov (both since 1856, however, by 1859 the relations of Balakirev and Cui with Serov were hopelessly damaged). However, Balakirev was not a teacher in the usual sense of the word. The “New Russian School” was a friendly circle where Balakirev was perceived as an older and more educated comrade. Not without humor, he wrote about the circle meetings, for example, the following: “Our entire company lives as before. Mussorgsky now looks cheerful and proud, they wrote the Allegro - and thinks that he has already done a lot for art in general and Russian art in particular. Now every Wednesday I have a meeting of all Russian composers, our new (if anyone composes) works and generally good works by Beethoven, Glinka, Schumann, Schubert and so on are played.” (letter to A.P. Zakharyina dated December 31, 1860, quoted from: M.A. Balakirev. Chronicle of Life and Creativity).
The playing of works (both their own and those of others) was accompanied by their detailed analysis. Stasov recalled that at the meetings of the circle, “everyone gathered in a crowd around the piano, where either M.A. Balakirev or Mussorgsky accompanied them as the most powerful pianists of the circle, and then testing, criticism, weighing of advantages and disadvantages, attack and defense immediately took place.”
Every young person who came to the circle again felt the irresistible charm of Balakirev’s personality and his amazing ability to kindle the fire of inspiration in people. Rimsky-Korsakov recalled that “From the first meeting, Balakirev made a huge impression on me. He demanded that I start composing a symphony. I was delighted". Mussorgsky wrote to Balakirev: “You were very good at pushing me while I was dozing.” And E. S. Borodina said that “The fruits of (Borodin’s) newly established acquaintance with Balakirev were felt in a fabulous way in terms of strength and speed. Already in December he played me almost the entire first Allegro of his symphony in Es major.”
But not everything was rosy. Very soon, the members of the circle realized the despotism of their older friend, his unshakable conviction that he was absolutely right and his desire to actively participate in all the details of their creative process. He told Rimsky-Korsakov: “You can trust in my critical ability and in the ability of musical understanding, but let my opinions not be immutable for you.”
However, Balakirev’s intervention in literally every bar, every note of the barely emerging works of young composers gradually became painful for them. In 1861, Mussorgsky wrote to Balakirev: “As for the fact that I get stuck and have to be pulled out, I’ll say one thing - if I have talent, I won’t get stuck. It’s time to stop seeing me as a child who needs to be led so that he doesn’t fall.”
By the end of the 1860s, the circle gradually began to disintegrate - the chicks fledged and gradually flew further and further from the nest. Balakirev became lonely and a creative crisis set in. Subsequently, he had other students, but only after long years, in 1884, he met Sergei Mikhailovich Lyapunov, who became his only completely devoted and faithful student, who continued the traditions of Balakirev’s music in his work.
Of great importance in Balakirev’s life was his performing activity, which he was engaged in from his youth until the last years of his life. Having become acquainted with the capabilities of the piano from the age of four, by the age of eighteen he was already an established virtuoso pianist, “the pianists who came to Kazan - Seymour Schiff and Anton Kontsky - treated him as a colleague.”
In a letter to Rostislav, published in “Northern Bee” (No. 290), A.D. Ulybyshev recommended Balakirev as a virtuoso: “He should listen once to a large piece performed by an orchestra in order to convey it without notes in all accuracy on the piano. He reads all kinds of music and, accompanying the singing, immediately translates the aria or duet into another tone, whatever he wants.”
In the second half of his life, Balakirev was recognized as a pianist not only in Russia, but also abroad, in particular in Poland. In 1894, his last public concert took place there, dedicated to his beloved composer, Chopin, in connection with the opening of a monument to him. This was a time when political relations between Russia and Poland were strained, and friends discouraged Balakirev from traveling there. He was “scared both by the fact that the hall would be empty and by the fact that they could arrange a demonstration for him as a Russian, a patriot. But Balakirev was not afraid, he went, and the concert took place. The entire Polish Warsaw was in Zhelazova Wola. Balakirev can never talk about this without emotion. This was his last appearance in front of the public, he never played again.”
Balakirev also picked up the conductor's baton with young age. Already at the age of 15, he made his debut with Beethoven's Eighth Symphony in a concert in Nizhny Novgorod, replacing his teacher Karl Eisrich who had left. However, as he later recalled, at that time “He didn’t even know in which direction the beats of the bar were pointed with a stick.”
Later he became a major, recognized conductor. After the founding of the Free Music School (FMS) in 1862, he conducted concerts for it and for its benefit (since 1863). In 1866-1867, Balakirev was invited to Prague to stage Glinka's operas. The matter was not without misunderstandings; in a letter to L.I. Shestakova, he indignantly wrote that “The local vile conductors decided to lose the clavier of “Ruslan” somewhere, it’s good that, to the surprise of everyone, I accompanied the entire opera from memory.”
In 1868, the directorate of the Russian Musical Society entrusted him with managing its concerts (10 concerts in total). Starting from the next season, Balakirev increased the number of concerts of the Free Music School, but it took a long time to compete with the Russian musical society I couldn't. A year later he was replaced by E. F. Napravnik, and this caused a great resonance in the press, in particular, an article by P. I. Tchaikovsky “Voice from Moscow” was published music world" with an expression of protest about this. This event became one of the reasons for the severe crisis that befell the composer in the 1870s.
In 1872, the last of the announced RMO concerts could no longer take place. The distressed Balakirev also left the Free Music School in 1874. Rimsky-Korsakov was elected its director. The failures ended with an unsuccessful concert in Nizhny Novgorod. The dejected Balakirev was close to suicide. Needing funds not only for himself, but also for his sisters, who were left in his care after the death of his father, he entered the service of the Warsaw Railway Store Administration and began again giving music lessons. He moved away from his musical friends, avoided society, became unsociable, became very religious, and began to perform rituals that he had previously denied.
Later he returned to active conducting work, including abroad. In 1899, Balakirev was invited to Berlin to conduct a symphony concert of Glinka's works in honor of the unveiling of a memorial plaque on the house where he died. Later, due to health reasons, Balakirev retired from conducting.
Balakirev did not write many works during his life. The composer's creative inactivity often surprised his contemporaries - after all, it was he who stimulated the creative energy of his friends, condemned them for laziness, and created so little himself. However, the reason for this was not laziness at all, but something else. Balakirev was a man with demanding and impeccable taste. In any music he immediately sensed something new or banal, something new or a repetition of old cliches. From himself, as well as from his friends, he demanded only something new, original, and individual. This is the secret of his overly detailed interference in the creative process of his associates. But he was no less demanding of himself. Each note written was subjected to the most severe criticism of the author's inner ear - and did not always pass it. As a result, works could take decades to create. Most shining example- First symphony. Back in the 1860s, he encouraged all his friends to create a symphony, considering it the pinnacle of the genre system. He began his own symphony in 1864 and finished it in 1897.
When Glinka, at the end of his life, gave Balakirev the theme of a Spanish march for his future overture, he thereby appointed him as his successor. Indeed, Balakirev inherited a lot from his older contemporary, and in particular a colossal breadth of interests and creative ideas, but his own path was completely original. One of the most important principles of Balakirev’s work was not to repeat - neither the music of other composers, nor himself. Each of his compositions was unique.
Balakirev was the only composer of The Mighty Handful who never wrote an opera. The idea of an operatic work called “The Firebird” was never realized. Balakirev's only work for the theater is music for Shakespeare's tragedy "King Lear", which includes an overture, symphonic intermissions and other numbers for orchestra. In general, Balakirev’s largest creations were works for symphony orchestra. In addition to two symphonies, this includes various overtures: on the theme of the Spanish march given to the author by Glinka (1857, 2nd edition 1886), on the themes of three Russian songs (1858, 2nd edition 1881), Czech Overture (written under the impression of a trip to Prague, 1867, 2nd edition 1905). Here you can also find the symphonic poems “Rus” (originally the musical picture “1000 Years”, 1864, 2nd edition 1887, 1907), “Tamara” (1882) and Suite in three parts(1901-1909, completed by S. M. Lyapunov).
As a concert pianist, he composed many works involving the piano. Of these, two piano concertos (1st 1855, 2nd 1862-1910, completed by S. M. Lyapunov), Octet (1856), as well as just piano ones - among them the fantasy “Islamey” (as well as “ Tamara”, associated with impressions from trips to the Caucasus in the 1860s, 1869), sonata (1905), many piano miniatures, transcriptions and arrangements of vocal and symphonic music etc.
Balakirev’s work in the Court Chapel was associated with the creation of choral music - arrangements for the choir Acapella Glinka's romances and Chopin's mazurkas. In addition, throughout his life Balakirev created many romances for voice with piano or orchestra (“Georgian Song”, 1863).
Balakirev made a great contribution to the history of collecting and recording folk songs. After a trip along the Volga, specially undertaken to record folk songs, Balakirev published a collection of “40 Russian folk songs for voice and piano” (1866), which had a great public response. Later, the composer was offered to participate in the commission for the compilation and publication of Russian folk songs collected by expeditions of the Russian Geographical Society. The result of this work was the publication of the collection “30 Russian folk songs for piano 4 hands” (1898). In his work, Balakirev often turned to authentic Russian melodies, and with this he continued in music the traditions laid down by Glinka’s “Kamarinskaya”.
His editorial work was of particular importance in Balakirev’s creative activity. Beginning in the 1860s, she accompanied Balakirev throughout creative path. Probably, if we compare the number of editorial and original works of the composer, there will be almost more of the former. This includes work with the emerging music of close friends and students (Cui, Lyapunov, etc.), and editions of works by composers who have already passed away (such as Berlioz and Chopin). This includes simple transcriptions symphonic works for piano (2 or 4 hands), and creative reinterpretations of existing works by other authors (this includes various piano transcriptions, concert arrangements and others).
Back in 1877, M. I. Glinka’s sister L. I. Shestakova asked Balakirev to edit and publish Glinka’s opera scores at her expense. By the end of 1878, the score of the opera “Ruslan and Lyudmila” was published, and in 1881, “A Life for the Tsar,” edited by M. A. Balakirev, N. A. Rimsky-Korsakov and A. K. Lyadov. At the same time, he was engaged in editing and proofreading other works by Glinka, published in various publishing houses. Work with Glinka’s music reached its logical conclusion at the end of Balakirev’s life - since 1902 he actively participated in the editing and publication Full meeting Glinka's works. As for Chopin, work with his music has remained in the shadows, but it is no less important.
It is little known that it was Balakirev who became the editor of the world's first Collected Works of Chopin, published in Russia in the edition of Stellovsky in 1861-1864. Subsequently, he also worked on editions of various works by Chopin and crowned his creative biography two large-scale works related to Chopin's work - a re-instrumentation of the First Piano Concerto in 1909, and an orchestral Suite from his own works in 1910.
In the last period, Balakirev was surrounded by musical youth, but the most dear person to him during these years was S. Lyapunov. According to his will, Lyapunov completed a number of unfinished works by the composer, including the concerto in E-flat major. Balakirev died on May 16, 1910.
Balakirev was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra.
